In 2019 we celebrated the 150th anniversary of the death of Transylvanian composer, Georg Ruzitska. Living a long 83 years, he experienced the transition from the Classial to Romantic eras. This period’s myriad historic and artistic developments influenced Ruzitska’s music, inspiring the migrant composer’s composition of the Introduction et variations brillantes sur un tême hongrois op. 14. The work is one of Ruzitska's four unedited, unpublished cello pieces that lay in the form manuscript on the shelves of the Széchenyi Library in Budapest. This interesting musical piece is written for cello and piano in the form of theme and variations and represents many elements of the “verbunkos” style, the contemporary national Hungarian musical idiom. This paper seeks to provide a detailed description of the work, with an emphasis on highlighting the above-mentioned stylistic elements.

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Johann Heinrich Ignaz Franz von Biber's personality and work were pivotal in the 17 th century, which is why he is considered one of the most prominent violinists and composers today. Born in the former Bohemia, later he worked in Austria as a violinist and composer in the Salzburg court. He was practically one of the first composers to compose for a solo violin. Among other things, he became a well-known and respected composer for theuntil then -unexplored areas used in the Rosary Sonatas on the violin, the use of scordatura as a musical background, high positions, double stops, etc. In this article, I would like to present a more detailed but concise description of the historical origins and instrumental solutions of the Rosary Sonatas, presumably written in 1678.